Formula Of Dish End Surface Area Of Tank

Otto Preminger

by Jacques Lourcelles

Preminger's films, like all interesting films, show that cinema is a means of expression exclusively narrative. Freedom, invention, for a filmmaker, is not about to doubt this narrative structure or like to shake them, but to be forgotten after you accept. Precisely because it is, as has been said many times, the art of time and art space that cinema can be no freedom vis-à-vis time and vis- towards space. A good story, we have seen, is that which takes best describes the time and space. In this sense, every good story is realistic. Preminger's films are also realistic. Should we repeat here that realism is not an art school among other schools, but that by which movies are movies, not useless pieces of cellulose supposed to express the anguish and the imbalance of an awareness of touch with reality and whose manifestations are so over the hospital's art, this art was it the seventh and especially if the seventh, because it is a law that all the movies that is expressed not by means of realism will automatically appear sickly and inept?

[...]

Most are beginning to notice it, would rather realism, technical and moral, which is still synonymous with Preminger's objectivity, variety, and wit respest discussion. Intelligibility also: and nothing is more important today.

past ten years, in fact, worldwide, title and name of author films have finally been recognized director, and sometimes on the ruins of the star system. But paradoxically the same period has seen these so-called-authors, and those who give themselves through various advertising methods as such, enjoy, enjoy the new title for "speak" certainly, but more often depends on elemental qualities, and essential, photography and sound, also at the expense of clarity and intelligibility of the narrative. So just when the public was more willing to accommodate these authors, outdoing improperly (to impose their personal fantasies) on newly granted powers to them and misinterpreted it, cut it to him, and put they, more or less short term, their art in peril.

This danger is very hour. Faced with this danger, the films of Preminger, free and independent ever did was film, and therefore moral thereby themselves, offer as an antidote to the example of a work whose contact with the growing public does not stop, but instead has stimulated progress . And these advances are all in the same direction: the strict sense of realism.